Movies of 2010

The Beginners (2010)

Oliver Fields (Ewan McGregor) tells his story through a visual timeline. History conscious, he also describes the sun, the stars, and love by its era ("This is how the sun looks like in 1955, and this is how the sun looks like in 2003..."), how tangible and intangible things in life evolve or expose itself as time flows. Like his father (Christopher Plummer), who, in 1955 marries his mother, and in 2003, at the age of 75, after his mother's death, confesses that he's gay...and then suddenly diagnosed with terminal cancer.

The Beginners is a playfully visual and poetic satire of a dysfunctional life, with a constant undercurrent of sadness. We watch the repressed Oliver in present time, with his highly dependent dog Arthur, come to terms with the death of his father not long after his confession and immediate indulgence in a homosexual lifestyle-- Oliver's present-day observations and life's moments triggering memories from the past-- from his childhood spent with his neglected mother to his father's coming-out. And then wrapped up in a functional-kind of depression, he meets an unpredictable French girl (Melanie Laurent) and falls in love with her. And with his recent tragedies, we fear for Oliver's vulnerability.

The Beginners, with a charming cinematography and unimposing musical score, is rich with subtle emotions. The story is minimally absorbing, but the depth comes from the multi-layered characters brilliantly acted by the entire cast (including Oliver's dog), but most notably by Christopher Plummer. It's poetic, candid, visually pleasing, and emotional, without any concrete plot, but simply a portrayal of a man and the many little tragedies of his life.

Premiered at the Toronto Film Fest in 2011, re-released in the cinemas last June 3rd, and now available in DVD/Blu-Ray

Catfish (2010)

Facebook romance.

Yaniv Schulman, or "Nev," a 24-year-old photographer from New York, meets beautiful Megan Faccio on Facebook, and an online romance blossoms-- until everything suddenly feels weird, suspicious and strange.

Catfish follows the true story of Nev, documented by his brother Ariel and friend Henry Joost, that began when Nev was remotely befriended by Abby, an 8-year-old gifted painter from Michigan, who sends him painting versions of his photographs. Nev eventually became close to Abby's family, especially to the model-like sister Megan, through technology. And we follow Nev and Megan's budding relationship-- until the three friends decide, that from their filmmaking gig in Vail, Colorado, to take a detour and drive to Ishpeming, Michigan to finally meet the family in person. And the shocking truth is revealed to all of us.

Selected at the 2010 Sundance Film Festival, the hit documentary became a controversy, with critics questioning its authenticity. The filmmakers deny the film as a hoax, and it's no surprise to me-- as the tiniest flicker of emotions in the eyes, the voice, and the split-second moments can never be replicated even by the most natural, exceptionally talented actors nor can it ever be directed by a genius director. And as the cliche goes, truth is indeed stranger than fiction.

Catfish is an engaging narrative; fast-paced, funny, and heartbreaking; a sad, disturbing, haunting story, touching on the dark, sensitive areas of our reality, and the universal effects of social media.

And after watching the film, you'll definitely find yourself Googling. And searching on Facebook.

Trust (2010)

A young teen falls smitten by a charming stranger on the Internet who feeds her low self-esteem. This eventually leads her to meet up with him, he rapes her, and it's never the same again with her and her family.

Trust delves on the psychological impact of the sexual assault to the 14-year-old school outcast, Annie, who met her first boyfriend on the Internet, and the gravity of pain and trauma the parents---particularly the father---had suffered from the tragedy. The film centralizes on Annie's innocent and distorted grasp of the crime and her father's violent rage and maddening desperation to catch the predator.

The film cackles with palpable tension, and the emotions run high in the film, strong and distinct, whether the dramatic scene is subtle, explosive or underlying. Never have I seen an intensely realistic and believable series of conflicts in a film, as well as multi-layered characters that even in their silence, in their slightest movements, expose a deep well of emotions and internal struggle. You feel a strong empathy, a clear understanding of how each family member deals with the tragedy-- and when their different coping mechanisms clash together, it's an emotional powerhouse.

And who would have ever imagined that the film was directed by Friends' David Schwimmer.

An official selection at the Toronto Film Festival, Trust unexpectedly brings out raw emotions; a gripping and painful drama that will pull you into the psyche and heartbreaking agony of the main cast, will touch you with its universal truths, and will disturb you with the issue of trust.

With brilliant acting from Academy Award winners Clive Owen (the father), Catherine Keener (the mother), and Viola Davis (the therapist) and an Audience Choice for Best Actress at the Chicago Film Festival 14-year-old Liana Liberato (Annie), and a sincere, compassionate screenplay with excellently developed characters under a masterful direction, Trust is one haunting, disturbing, triumphant film.

Life As We Know It (2010)

Life As We Know It is about instant family for two single adults (Katherine Heigl and Josh Duhamel) who have an aversion towards each other. Picked by their mutual best friends to take care of their baby when they die (and they did, in an accident), they had no choice but to stick together.

Katherine Heigl and Josh Duhamel had zero chemistry, the comedy forced, and the rest of the cast are bland characters, and it wasn't clearly established when our lead characters actually start falling in love. It's one of those shallow romantic comedies where you feel bored and totally detached from the stuff happening onscreen. Despite Katherine Heigl's charming onscreen presence, the film has failed to make me fall in love. F

Love and Other Drugs (2010)

So far it's my worst movie of the year.

LOVE AND OTHER DRUGS feels like a Star Cinema love story but littered with sex scenes and nudity. It's a cliche-ish, cheesy romantic comedy-turned-drama about a spunky artiste commitment-phobe Parkinson's Disease sufferer (Anne Hathaway) and Pfizer womanizer (Jake Gyllenhaal) who accidentally met while Anne Hathaway was showing her left boob to her primary physician. Indeed, TRUE love conquers all, and her commitment phobia and his womanizing days were finally cured.

The characters lacked depth, the lovers had zero chemistry, and I was kind of getting tired looking at Anne Hathaway's eyes, nose and mouth that are blown out of proportion. In this dragging movie, all I hear are the f-word, tacky soundtrack, the irritating blabber of Oliver Platt and the greasy brother; and all I see are naked humping bodies and Hathaway's gigantic facial features.

It failed to ignite the smallest emotion in me, and even the film's soundtrack that was meant to evoke the target emotion in me just makes the movie even more annoying. I bet that even if I had Parkinson's Disease, I'd still be numb from any touching emotion this movie is so trying hard to project. F

Easy A (2010)

You will probably say that you've seen a lot of teen comedy flicks already; you've seen one and you've seen them all. You know, the kind of film that depicts the usual stereotypes and teenage angst and the whole high school experience that John Hughes had popularized in the '80s ( and who got a special mention in this movie).

But you gotta see Easy A,about a sympathetic "nobody" (played naturally by Emma Stone) whose social status instantly sky-rocketed because of a lie.

Itis hilarious, and when I say hilarious, it is hilarious. The cast is fantastic, which includes Stanley Tucci and Patricia Clarkson as the parents of our heroine, and other well-loved and well-known talented comedians. The screenplay is intelligent and engaging, with a wildly witty dialogue that has references to classic literature and modern-day culture, filled with rich, vibrant characters who are your usual everyday people but represented with depth (yeah, with depth, unlike the cast of Glee). All in all, Easy A is a comedy with a kind of humor that ranks high above other comedy flicks.

Easy A delivers a lot of gut-laughter and has the "repeatability element." Yeah, I might see it again. Yes I will.A

The King's Speech (2010)

The gem of this film is Colin Firth, who is exceptionally talented.

THE KING'S SPEECH is the struggle of George IV, 'or Bertie' , aptly played by Firth, with his stammering-- the pressure increasing as he is about to be king during wartime England.

The film focuses on his therapy sessions with the unorthodox and without-credentials Lionel Logue, and the entertainment factor of the film is their relationship as well as Logue's unconventional ways in treating his 'star patient'.

The film is a bit dragging and wouldn't have made such a significant impact if it weren't for Colin Firth and Geoffrey Rush as Logue. But nevertheless the film was able to redeem itself in its culminating scene, where Colin Firth gives a tremendous performance, an almost duplicate of the real King George in his first wartime speech. The goosebumps and the glowing pride, and your admiration for Colin Firth, that you will feel in the end makes THE KING'S SPEECH a fairly good movie to see. B-

Megamind (2010)

Will Ferrell, Tina Fey, and Brad Pitt come together in an animated 3D story of a villain, and how that villain came to be. It's a depressing tale of this blue guy ridiculed all his life, a consistent failure, and who has never had an experience of normal human affection until he decided to disguise himself as some intellectual dweeb. And yeah, it's a comedy.

The dialogue rarely made me laugh, and the story is essentially all about the sad, depressing existence of insecure losers masked by not-so-witty dialogue, making me wistfully think of the real Will Ferrell instead of watching this Megamind character.

Megamind is heartbreaking, sparsely funny, sometimes corny and mostly boring. I expected laughter from the guts, and I didn't get it. C

127 Hours (2010)

How do you make a film about a canyoneer trapped underneath a boulder for 127 hours without boring the daylights out of the audience? Academy Award winner Danny Boyle has managed to re-create the true story of Aron Ralston in a tasteful, honest and intense fashion; his trademark arrogant and playful shots complementing the profoundly dramatic journey of Ralston.

Impressively directed by Boyle, with a stellar performance by James Franco, the film was able to transmit all the emotions of the hero from the screen right to your heart, encompassing all your senses and feelings; your emotions skipping between thrill, fear, horror, hilarity, panic, profound sadness, and euphoria. Every inch and detail of the film, every split-second facial expression of Franco, seems to tell a story of its own. And together with a fitting musical score (mostly beautiful original compositions of A.R. Rahman) and the stunning, harsh beauty of Canyonland as backdrop, 127 HOURS becomes even more a tremendously emotional and satisfying cinematic experience. A masterpiece...and by far one of the best movies of the decade. A

Tangled (2010)

Walt Disney's version of the German fairy tale Rapunzel in digital 3D, Tangled is fun and absorbing despite the mediocre songs and Rapunzel's painfully boring face. The dialogue is modern and witty, and there were quite a few scenes that will make you LOL. Probably the most memorable and funniest character in the film is Maximus (the horse that should win the Best Non-Speaking Role).

What is especially notable in this animated film is the facial expression of the characters, and with their unique personalities, they are brought to life, evoking the targeted emotion from the viewers. Rapunzel is a bit bonkers, yes, but who wouldn't be if you were locked up for 18 years in a tower?

Tangled is unpredictable, lively and hilarious. Even though the songs were pretty bland, the Disney twist to the story and the captivating personalities of the characters still makes Tangled a fun and engaging movie for the entire family.A-

Rabbit Hole (2010)

A married couple (Nicole Kidman and Aaron Eckhart) tries to deal with the loss of their young son. In the film, we explore the depth of the couple's grief and mourning process, and we wait with bated breath if their marriage will last.

Although this concept for a film has already been seen in the past, Rabbit Hole (based on the Pulizter Prize play by David Lindsay-Abaire's) still stands out and is unique in a way that it grips you and tears you inside. Both Kidman's and Eckhart's pain are raw and profound, and the tension and fight scenes between them are heartfelt and natural, easily defeating di Caprio and Winslet's self-conscious marital conflict in Revolutionary Road. And Eckhart was surprisingly good in the film, able to match and complement Kidman's acting prowess.

Rabbit Hole is sad, unpredictable and touching, unpretentious and raw. Its beauty lies in its simple story structure, the emotions rising to the surface, palpable and real.

I wouldn't be surprised if Kidman nabs a Golden Globe or Oscar for this.A

Black Swan (2010)

Natalie Portman plays Nina, an innocent and disturbed ballet dancer, obsessed about getting—and keeping—the coveted lead role in the dark version of Swan Lake. Pressured to perform the role of the Swan Queen perfectly, a role that alternates between a naive and pure White Swan that fits her personality, and a dark and seductive Black Swan that she is having a hard time projecting, her internal demons and mental instability intensifies. The internal pain and turmoil she experiences are further complicated by another ballet dancer (Mila Kunis), with whom she is deeply threatened.

During the process of perfecting the role, Nina unwittingly discovers her sexuality and struggles to keep her sanity intact to be able to perform the role of her lifetime.

Natalie Portman did an okay job in her disturbed and complex character, but she still lacked the kind of alarming depth and intensity needed for the role. I could still see her as Natalie Portman and not entirely as Nina.

Nevertheless, Black Swan (nominated for this year's Golden Globes for Best Picture) still titillates the senses; it's a little bit creepy, a little bit disturbing, and it's relatively artful. But it's still incredibly overrated.B-

The Next Three Days (2010)

Writer-Directer Paul Haggis of Oscar Best Picture Crash gambles and screenplays a remake of a 2008 French suspense-thriller Pour Elle.The Next Three Days puts together Academy Award-winner Russell Crowe and Zack and Miri Make a Porno's Elizabeth Banks in a dramatic and suspenseful plot to entice the movie-adrenaline junkies.

Crowe and Banks play husband and wife John and Lara Brennan, with a young son, and whose normal family life is suddenly disrupted when the local cops barge into their morning breakfast and handcuffs Lara for the murder of her female boss. With all evidences pointing to her--- fingerprints on the murder weapon, blood on her coat, her heated argument with her boss the night before the murder--- it looks like there is no more hope for Lara to get out of her life imprisonment. Triggered by his intense and undying love for his wife and his one hundred percent conviction of her innocence, John sets out a plan to break her out of prison. And that's when the thrills should have begun.

The Next Three Days moves in a slow, tedious fashion; there is no giddy, exciting feeling as Crowe plans out an escape for his wife. And as he fumbles through tutorials, books and seeks dangerous men for help before he executes his wife's prison break, instead of watching wide-eyed and fearful, you get this prickly sensation of boredom, the impatience creeping in, and you battle the urge to fast-forward the movie. However, in the end, the film was able to redeem itself in a last minute edge-of-the seat, smart cat-and-mouse chase.

The Next Three Days is basically centered on John's indomitable love for his wife; he plays that too perfect husband. Crowe's character also brings back to mind Mel Gibson's frequent roles as an ordinary family man (with expressive blue Aussie eyes) who suddenly finds himself in an extraordinary mission-- except that Mel Gibson's films are more powerful, more dramatic and action-packed.

The film is half-boring, half-suspenseful, and half-touching. If it's showing on cable TV, then you may find yourself changing the channel, and then checking back to see how the film ends. C

By the way, Liam Neeson makes a cameo.

True Grit (2010)

The Coen brothers’ remake of the 1969 John Wayne film (based
on Charles Portis’s novel of the same title), True Grit is a Western adventure,
with a spunky 14-year-old heroine, Mattie (Oscar-nominated Hailee Steinfeld),
who seeks the help of a drunken notorious Deputy U.S. Marshall (Jeff Bridges, weirdly nominated for his role) to capture her father’s killer (Josh Brolin). They
gallop into the Choctaw terrain, teams up with a Texas Ranger, LaBeouf (Matt Damon), for an adventure that would have
been almost mediocre if it weren’t for the excellent performance of Steinfeld
and the beautiful, heart-wrenching music of Carter Burwell, which plays significantly in the storytelling.

With their last year’s frustratingly pretentious bad dark
comedy, A Serious Man, the Coen brothers were able to redeem themselves this
year. True Grit (bagging a handful of Oscar nominations, including Best Picture)
is an engaging adventure, oftentimes humorous; its substance mostly centered on
Mattie’s spitfire personality and her chemistry with Bridges and Damon. Despite
Bridges’s highly annoyingly incomprehensible slurs, the beauty of this film lies in
its simple, unpretentious story structure of your regular Western, and the rich characters-- all encompassed by Burwell’s poignant
music. A refreshing cinematic experience. B

Somewhere (2010)

In this film, expect five percent dialogue, two complete choreographed pole-dancing, one whole figure skating performance, then the rest are extremely long shots of silence and nothingness.

This Sofia Coppola film is supposedly about "a hard-living Hollywood actor" played by Stephen Dorff, who "re-examines his life after his 11-year-old daughter (Elle Fanning) surprises him with a visit." But in this film, instead of successfully getting across the substance of the story, or capturing the emotions or the mood of the characters, Coppola simply took uber long shots of material that were insanely unnecessary.

And Dorff, who's supposed to be an A-list Hollywood actor here, didn't feel like one; he simply looked like a scruffy guy walking around with an arm cast, tagging her daughter along to places, their bonding totally unfelt.

Coppola finished two complete choreographs of pole-dancing in this movie, and I wonder why a few seconds of that wouldn't give us an idea of Dorff's lifestyle?! Then we watch his daughter's complete figure skating performance, watch both of them play Guitar Hero and Wii for a looong time. Worse, most of the scenes were shot with one angle, as if she left her webcam on. These are just among many scenes where the camera was simply focused on one subject, unmoving, quiet, and ridiculously long, that the meaning is lost, making the entire film a one insignificant waste of time.

SOMEWHERE is empty and totally leads to nowhere. F-

The Kids Are All Right (2010)

A lesbian married couple's (Annette Bening and Julianne Moore) peaceful life with their two teenaged kids are suddenly threatened when their sperm donor (Mark Ruffalo), the father of their kids, enters into the picture.

Funny and engaging, KIDS ARE ALL RIGHT (nominated for this year's Oscar Best Pic) does not feel like it's advocating gay marriage, but it's simply a portrayal of one, and it's up to the viewer if kids of a homosexual marriage are---and will always be---all right in this unconventional set-up.

The beauty of the film, however, is its humor, its candidness, and its emotional, touching moments that most of the time comes from familial relationships. And Annette Bening was rightfully nominated for this year's Oscar Best Actress as the perfectionist other half of the gay relationship; she is superbly natural and admirably brilliant in her craft. Moore looked as if she was performing, but Benning simply transformed into her character.B-

Never Let Me Go (2010)

Carey Mulligan, Keira Nightly, and Andrew Garfield star in Kazuo Ishiguro's dystopian drama, NEVER LET ME GO. This movie adaptation of the Japanese's celebrated novel (which I haven't read yet) is about three close friends who grew up in an idyllic and isolated boarding school in postwar Britain, and eventually finding out that they are actually clones created to become organ donors to ill human beings, and therefore facing death once "completed."

The film delves into the relationship between the three; the tension, jealousy, love, and the close bond they shared, from childhood to adulthood until their inevitable tragic fate in this alter-world that Ishiguro has created. The film, however, does not look nor feel like a sci-fi, but a melancholy period movie that begins in the early 1950's and ends in the late 1970's.

With Kathy (Mulligan) as the main character, narrating her thoughts and observations to us, NEVER LET ME GO is lugubrious and overstretched. There were unnecessary long shots that could very well bore the audience. Nevertheless, the tragic, devastating existence of these poor creatures is still palpable throughout the film.

The only beauty of the film comes from its resonating sadness, the undercurrent of pain and sorrow while they go on with their controlled lives and their friendship...all the more enhanced by the lonely painting-like shots of suburban Britain. C-

Howl (2010)

HOWL is the story of Beat Generation controversial, brilliant poet Allen Ginsberg, (played by multi-talented actor James Franco), and the obscenity trial in the late 1950s of his "Howl and other Poems": its literary merit questioned because of the poems' sexual expressions.

For those who love contemporary poetry, then HOWL is a delicious movie, the words bursting out of the screen and inspiration will explode inside you.

Winter's Bone (2010)

Winner of the Sundance Grand Jury Prize and nominated for Best Picture in this year's Oscars, Winter's Bone, based on the novel by Daniel Woodrell, is about a fearless, unfazed minor, Ree (This year's Oscar-nominated Jennifer Lawrence) on a stubborn and determined search for her missing drug-dealing father in the biting cold of the Ozarks, and through dangerous, violent kin, in order to save her mother and siblings.

The film is not a film to entertain, but it's a sociological perspective of the hard-bitten impoverished folks living a bleak life in the Ozark Mountains. Reminds me of Brillante Mendoza's films that are meant to capture the people and culture.

Watching Winter's Bone feels like reading a novel; it is a bit yawn-inducing especially if you're expecting some action (because basically there is none) and subtitles are needed to help you firmly grasp the story. But just as the impatience and boredom is creeping in, you are held back by moments of suspense and thriller and the sadness of the fight for survival. But what's more noticeable in this film is its authenticity feel; with the help of unknown actors and the archaic shots and music, makes the movie feel real, like you can almost feel the harsh winds in the Ozarks. Feels like reading a book indeed. B-

Blue Valentine (2010)

Blue Valentine, a character-driven plot, has one of the most stunning performances of actors.

A Cannes and Sundance film selection, Blue Valentine is about the strained marital relationship of Cindy and Dean, played stunningly by Michelle Williams and Ryan Gosling. The film skips between their present day marriage with a little daughter and flashbacks during the times of their courtship. Done with a realistic treatment so that everything in the film feels natural, it follows the two main characters and their dwindling relationship, and you will brace yourself if their initial whirlwind love and romance will be reignited and eventually save their marriage.

Heavily dramatic and heart-wrenching, Blue Valentine is a realistic drama, that once again reminds us what marriage is exactly all about. Both Michelle Williams (nominated for this year's Oscar Best Actress) and Ryan Gosling give unforgettable performance. B

Conviction (2010)

The incredible true story of Betty Anne Waters who put herself through law school in order to free her innocent brother from charges of a brutal murder. This movie is another testament to the power of love, how it never gives up until the very end, resulting in a kind of conviction that nothing is impossible.

Two-time Academy Award winner Hilary Swank, as always, has this transformative power, gripping you into the real-life character she portrays, a character driven by her remarkable love and trust in her brother's innocence despite his history of violence, theft, and minor brushes with the law.

Dramatic, touching, heartbreaking and triumphant, Conviction pays tribute to extraordinary people like Betty Anne Waters, will make you question yourself how far will you go to save the life of someone you love, and it gives voice to the hundreds of convicted innocents.A-

Casino Jack (2010)

The opening scene of the movie is arresting: Kevin Spacey giving a speech in front of the mirror. Then that's just about it. And another scene with Kevin Spacey in a climactic role. The rest of the movie is a sluggish ride.

Based on the life of "super lobbyist" Jack Abramoff, Casino Jack tells the story of the ruthless Mr. Abramoff in a comedic fashion, in a way that portrays him not exactly as a villain, but a manic, shameless, charismatic guy with over-the-top plans, milking money out of everybody. Sounds like fun, right? Especially with Kevin Spacey playing the role. Wrong. It's tiring and boring, punctuated with an awful soundtrack. Only Kevin Spacey shines-- but not even him could do wonders for the film. The thing is, the movie is fast-paced, a lot of conversations going on, the cast, including Jon Lovitz, are acting all funny, but it's amazing how it does not entertain at all!

It's long and dry and color blue, with an annoying music. That's Casino Jack for you. D

Robin Hood (2010)

If you're looking to be educated for two hours and a half on the legend of Robin Hood and how he came to be an outlaw rather than be entertained, then go see ROBIN HOOD.

The film is an agonizing experience, a full-blown drab that even the Robin Hood character (played by Russell Crowe and his unintelligible mixed-up accent) has fizzled.

ROBIN HOOD did not do justice to the famous legend and seriously downplayed the beloved companions of Robin Hood--- Alan A'Dale, Will Scarlett, and Little John--- making them the Boring Squad.

Dry, excruciatingly dragging and lengthy, ROBIN HOOD is a total waste of production costs.

Inception (2010)

OCEAN’S 11 meets PARNASSUS-- except that INCEPTION was not half as exciting as either of the two. Christopher Nolan’s much talked-about summer blockbuster, tagged as an intellectually complex psychological thriller that requires a highly intelligent mind to comprehend the story, has, in reality, failed to captivate or engage me.

The concept sounded delicious; a heist set in a backdrop of dreams-- specifically a dream within a dream…within a dream. With the notion of a team of intelligent thieves (that brings back to mind George Clooney’s dynamic, impressive team in Ocean’s 11), using the dream, i.e. the subconscious, as a medium for their theft, INCEPTION gives the premise of something original, visually stunning and, most importantly, intellectually stimulating. Therefore, I expected a mind-blowing cinematic experience.

My expectation was not met.

The IDEA was fantastic, but Nolan’s screenplay was somewhat lacking. The concept impressive, but the execution a bit wanting. It’s a pretty simple sci-fi thriller packaged in a complex-sounding idea that should have been more exciting by using the elements of dialogue, conflict-- and the heist itself. Sadly, INCEPTION, with a SHUTTER ISLAND-esque soundtrack, almost bored me.

Nolan’s INCEPTION is not a bad film because it's unpretentious, not trying hard to please the audience, and it has a clean storyline. Also, Leo diCaprio (as usual, gives an excellent performance) and Cotillard’s mystery a curious thing, the locations beautiful, the idea of dream inception appealing, but all in all, the film is something that I wouldn’t feel bad missing.

INCEPTION was interesting-- but not entertaining.

Shutter Island (2010)

About 15 minutes into the movie, about 10 minutes since Leo Di Caprio entered the asylum in Shutter Island, I have already figured out the mystery. Predicted the end. Untangled the plot twist. I am not bragging. Hey, with all due respect, this is a Martin Scorsese film.

So I only had to finish SHUTTER ISLAND to confirm my prediction. And I was right. Hell, I was right. But I wonder, was the answer truly a glaring obvious since the beginning of the movie? Or do I just have an uncanny knack for solving mysteries since my Nancy Drew days? But, in all humility, how hard was it to instantly figure out the plot twist of SHUTTER ISLAND when this was the cinematic trend a decade ago, when similarly-themed films were popping up like mushrooms since THE SIXTH SENSE? Oh, sorry, did I spoil it? But by the time when even Cesar Montano was using the same plot twist in his excruciatingly bad movie LIGALIG, it was already worn out and annoying.

How utterly disappointing for Martin Scorsese, using a story with a plot twist that’s been used and reused and re-reused so many times ten years ago, then embarrassingly reviving it today, the Age of Up in the Air and Avatar, when filmmakers are manufacturing fresh new ideas? It’s like reviving the Mohawk. No wonder they postponed the release of SHUTTER ISLAND in 2009, having seen their contenders who have progressed in filmmaking, coming up with-- or adapting-- unique stories. Imagine SHUTTER ISLAND lined up alongside PRECIOUS, INGLOURIOUS BASTERDS, HURT LOCKER, AVATAR, UP IN THE AIR…etc.? So you understand why they had to push SHUTTER ISLAND to a 2010 release.

SHUTTER ISLAND (based on a novel), to be fair, effectively portrayed madness and was reasonably and relevantly artsy fartsy in some parts. And despite the highly used-up plot twist, the story of Edward Daniels (Leo Di Caprio) still managed to disturb me.

Alice in Wonderland (2010)

Spoiler alert.____________________________

Despite the story’s dark and disturbing undertones, one is still compelled to watch ALICE IN WONDERLAND. Original story penned by someone who suffers from hallucinations and medical traumas, it’s no surprise that even in the 1951 classic Disney animation, one could not shrug off the awful feeling ALICE IN WONDERLAND triggers; the sense of alienation, grief and madness. Even so, we’ve watched the cartoons more than a dozen times as a kid. And as if that’s not enough, we also wanted to immerse ourselves in the sequel, excited to revisit our childhood epic tale, even made darker and more bizarre by Disney in the hands of Tim Burton. In 3D.

Why? Probably, we are drawn to the fantastical; the idea of an entirely different universe inside the looking glass or through a rabbit hole, the magic of fitting inside tiny doors, and the fantasy of meeting bizarre creatures and talking animals. And the story of Alice in Wonderland, especially when cloaked in Disney magic, is such a whimsical experience. You want to be in Wonderland-- yet you want to get the hell out of there at the same time. It’s unpleasant and captivating at once.

***

Now, Tim Burton’s ALICE IN WONDERLAND sequel looks elegant and spectacular; the splash of brilliant and striking colors in a dark and creepy “Underland,” occupied by creatures costumed in a delightful combination of vintage, gothic and old world. And we simply get the prettiest crazy Tea Party ever.

However, the sequel’s mediocre plot-- still with the disturbing undertones-- overrides all that eyecandy, leaving you ONLY with an unpleasant feeling.

The sequel’s adventure flows plainly, with minimal and corny humor, and then surprisingly finished off by the Mad Hatter’s break dance, which was totally off and goosebumps-inducing (the ultimate corny). Nonetheless, Johnny Depp is perfect as the Mad Hatter, and the romance between Alice (who is possibly bonkers) and the Mad Hatter is a nice twist; the tragedy of falling in love with someone from your dream or hallucination, and that someone, who happens to be insane, believes he truly exists. How disturbing and romantic is that? LOL.

When Alice tearfully “realizes” that Underland (the term “Wonderland” was corrected in the movie) is real and not just a vivid dream, it’s up to your fancy if Alice is really psychotic or if she’s the only one who has access to Underworld. I bet it’s the former (Otherwise, the supposed-to-be mother-in law should have seen the white rabbit, too). And I prefer it’s the former-- that she’s mad: it would have made the story of Alice a beautiful tragedy.

Letters to Juliet (2009)

You know, the thing is, if I want to be dumbed down, get highly irritated, and cringe all at the same time, I’d rent any STAR CINEMA love story drama of this generation. Especially one by Joyce Bernal. Not even the outrageously beautiful Verona, Italy, not even Gael Garcia Bernal, can redeem this shockingly dreadful movie.

The guy gets into your nerves, you are clueless when they actually start falling in love, and there’s zero chemistry. And the worse part is merging this TREMENDOUSLY corny screenplay and uber lame plot with Shakespeare’s Romeo and Juliet. And I don’t even like Romeo and Juliet.

When the first strings of Taylor Swift’s "Love Story" came in, I almost cried out of pure shame.

½ star for the lovely Vanessa Redgrave.

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